PHELAN  &  COLLENDER, 


MANUFACTURERS  OF 


S  T  -A.  3XT  3D  A. 


AMERICAN  BILLIARD  TABLES. 

WAREROOMS  AND  OFFICE  : 

No.   738  BROADWAY, 

NEAR  AST  OR  PLACE,  NEW  YORK. 

MANUFACTORY : 

THIRTY-SIXTH  STREET,  THIRTY-SEVENTH  STREET,  and  TENTH  AVENUE. 


ESTABLISHED    13  3  3. 


MANUFACTURER  OF  GENUINE 

Meerschaum  Pipes, 

CIGAR  HOLDERS,  &c„ 

AT  WHOLESALE  ANI>  RETAIL, 

New  York. 

REPAIRING,  BOILING  IN  WAX, 
MOUNTING,  &c. 

STORES; 

FACTORY  &  WAREROOM,  4  &  6  JOHN  STREET, 

ALSO, 

71  NASSAU,  cor.  JOHN  STREET. 

Pipes  and  Holders  made  to  Order,  with  Monograms,  Sec,  Sec. 


Ex  Safaris 


SEYMOUR  DURST 


When  you  leave,  please  leave  this  book 

Because  it  has  been  said 
"Sver'thing  comes  t'  him  who  waits 

Except  a  loaned  book." 


Avery  Architectural  and  Fine  Arts  Library 
Gift  of  Seymour  B.  Durst  Old  York  Library 


BOOTH'S  THEATRE. 


BEHIND  THE  SCENES. 


ILLUSTRATED. 


NEW  YORK: 
HENRY    L.    IIINTON,  PUBLISHER, 

6  8  0     B  R O  A  D W A  Y . 

18  7<>. 


CM 


Digitized  by  the  Internet  Archive 
in  2014 


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BOOTH'S  THEATRE. 


BEHIND  THE  SCENES. 

[REPRODUCED  FROM  APPLETOSS'  JOURNAL.] 

We  are  nearly  all  familiar  with  the  stage  as  it  appears  in  front  of  the 
foot-lights,  but  there  are  but  few  of  us  who  have  entered  into  the  strange 
mysteries  that  live  behind  the  painted  canvas.  It  is,  moreover,  common  to 
suppose  that  a  glimpse  at  the  machinery  of  the  stage  will  dispel  all  its 
charming  illusions — that  fairy -land,  seen  too  near,  will  only  have  a  rude, 
rough,  distasteful  aspect,  which  will  extinguish  our  love  for  its  ideal  beauty 
forever.  But  we  greatly  doubt  if  this  is  really  so.  Some  things  "  behind 
the  scenes  "  no  doubt  would  prove  disenchanting  to  the  unsophisticated  ob- 
server, but  in  reality  there  is  a  greater  world  of  mystery  on  the  other  side 
of  the  foot-lights  than  is  ordinarily  supposed.  We  are  all  of  us  prone  to 
accept  the  scenic  effects  of  the  stage  as  mere  matters  of  course,  and  are  indif- 
ferent to  the  various  forces  that  are  set  to  work  to  produce  them.  A  visit 
behind  the  scenes,  hence,  would  be  apt  with  most  persons  to  strengthen 
their  interest  in  the  scenic  illusions  of  the  stage,  and  to  enlarge  their  appre- 
ciation of  an  art  so  little  understood.  As  Mr.  Booth,  in  his  splendid  new 
theatre  in  this  city,  has  brought  stage-art  almost  to  perfection,  and  has  avail- 
ed himself  of  the  latest  inventions  and  devices  in  producing  scenic  effects, 
we  purpose  carrying  the  reader  on  a  pictorial  tour  around  and  among  the 
complicated  machinery — premising  that  our  artist  has  done  his  best  to  il- 
lustrate all  the  mysteries  of  this  strange  scene,  and  yet  but  partially  conveys 
an  idea  of  the  elaborate  complications  necessary  to  show  in  rapid  succession 


A 


BOOTH'S  THEATRE  —  BEHIND  THE  SCENES. 


the  castle  walls  and  grand  intricacies  for  "  Hamlet,"  or  the  heaths,  banquet- 
scenes,  caverns  and  their  mystic  incidents,  and  the  stir  of  battle-scenes,  for 
"  Macbeth."  But  let  the  reader  imagine  himself  with  us  on  a  tour  of  in- 
spection— recollecting  that  he  is  not  this  time  to  see  how  Hamlet  appears  at 
his  ease  in  his  dressing-room,  or  how  Ophelia  chats  gayty  with  the  grave- 


THE  STAGE — SETTING  THE  SCENES. 


digger  in  the  green-room,  or  how  the  queen  smiles  upon  the  ghost,  or  how 
the  king  smokes  his  pipe  and  roars  at  a  new  jes<  by  Horatio;  he  is  to  sec;  only 
the  dumb  forces  that  set  the  stage,  thai  Lift  castles  and  "Birnam  woods" 
from  the  depths  below,  thai  drop  pendanl  boughs  and  blue  firmaments  from 


BOOTH'S   THEATRE  —  BHHIXD   THE  SCENES. 


5 


above ;  that,  at  a  word,  summon  the  strange  and  insubstantial  pageants,  and 
at  a  word  dissolve  them  into  air. 

But,  in  order  that  we  may  understand  our  lesson,  it  is  well  to  begin  at 
the  beginning.  Mr.  Booth's  mystic  realms,  let  us  say,  delve  so  deeply  into 
the  earth  beneath,  and  reach  so  loftily  into  the  spaces  above,  that  we  must 
save  breath  and  strength  by  proceeding  with  due  method  from  what  is  be- 
low to  what  is  above. 

Our  artist,  however,  shows  us  first  in  order  the  stage  proper,  with  nu- 
merous carpenters  busy  setting  the  side-scenes.  But,  firm  to  our  purpose  of 
proceeding  in  due  order,  let  us  resolutely  turn  from  this  picture  for  the  pres- 


I1YDKAUL1C  RAMS  FOR  LOWERING  AND  ELEVATING  THE  SCENES. 

ent,  and  descend  beneath  the  stage.  We  need  not  vanish  through  the 
traps;  there  arc  prosaic  stairs  that  will  accommodate  us.  We  are  first  led, 
not  beneath  the  stage  at  all,  but  to  the  spacious  excavations  under  the  side- 
walks, where  we  find  the  carpenters'  shop  and  a  great  array  of  timber,  and, 
to  our  surprise,  large  boilers,  and  an  engine  pursuing  its  noiseless  task. 
This  engine  in  the  daytime,  we  are  informed,  gives  motive  power  to  the 
machinery  in  the  carpenters'  busy  quarter,  elevates  the  Croton  to  the  huge 
water-tanks  at  the  top  of  the  building  by  which  the  hydraulic  rams,  here- 
after to  be  mentioned,  are  worked,  and  at  night  sets  a  huge  fan  in  motion 


6 


BOOTH'S   THEATRE  — BEHIND   THE  SCENES. 


under  the  auditorium,  which  in  summer-time  fills  the  theatre  with  cool,  and 
in  the  winter  with  warm  air.  We  may  note  that  the  rise  of  each  seat  in 
parquet  and  circle  is  pierced  with  numerous  circular  holes,  through  which 
constant  ventilation  is  secured  for  every  rapt  listener  above.  It  is  dark  and 
sombre  here  in  this  strange,  cavernous  cellar,  and  the  crowd  that  we  hear 
above  bustling  into  their  seats  adds  to  the  singularity  of  the  sensation.  But 
let  us  proceed.  Descending  numerous  steps,  we  emerge  beneath  the  stage, 
and  come  upon  the  scene  depicted  in  our  third  illustration.  The  great  hy- 
draulic rams  in  the  second  picture  lie  beneath  this  spot ;  they  act  as  the 
power  that  thrusts  up  and  lets  down  the  scenes. 

Usually  in  theatres  the  scenes  are  principally  on  the  stage,  set  in  grooves, 
and  run  in  by  hand  from  the  sides  to  meet  in  a  common  center.  In  some  in- 
stances scenes  are  hung  on  large  rollers,  and  let  down  or  wound  up  by  ropes 
adjusted  for  the  purpose.  But  at  Booth's  Theatre  is  the  first  instance  we 
have  of  scenes  worked  altogether  by  machinery,  which  are  lifted  from  below, 
by  means  so  carefully  and  accurately  adjusted  that  the  scene  almost  noise- 
lessly, and  with  perfect  precision,  glides  upward  into  its  place.  This  is  ef- 
fected by  hydraulic  rams — of  which  our  artist  illustrates  one,  but  there  is  a 
long,  formidable  row  of  them.  To  the  auditor,  comfortably  seated  in  the 
theatre,  the  scene  rises  like  magic,  often  transporting  him  with  its  beauty  ; 
but  to  the  visitor,  thirty  feet  below  the  surface  of  the  stage,  the  transforma- 
tion above  is  a  sort  of  pandemonium  below — huge  pistons  move,  wheels  re- 
volve, there  is  a  rush  and  stir  of  waters,  and  the  thing  is  done.  Leaving  the 
hydraulic  rams — which  are  a  mighty,  dismal,  and  demoniacal  sort  of  powers, 
hidden  away  in  their  subterranean  caverns — we  may  pause  a  moment  to  note 
the  great  congress  of  towers  and  churches,  forests  and  cathedrals,  cottages 
and  bowers,  gardens  and  cataracts,  rocks  and  roads,  palaces  and  chapels,  pa- 
vilions and  ruins,  inns  and  temples,  taverns  and  grottos,  that  remain  wait- 
ing for  piston  and  wheel  and  water  to  send  them  up  for  the  admiration  of 
eager  spectators.  All  these  scenes,  the  extreme  ends  of  which  can  be  seen  in 
the  picture,  are  gathered  directly  under  the  stage,  and  only  wait  their  turn: 
but  this  pile  against  the  wall  is  the  reserve  of  pictorial  wonders,  that  either 
adorned  the  last  or  will  illustrate  the  coming  play.  We  also  note,  in  this  il- 
lustration, a  series  of  platforms;  these1  are  under  the  traps  on  the  stage, 
from  which  mounts  the  ghostly  or  other  visitor,  or  upon  which  descend  the 
disappearing  genii.  These  platforms,  called  bridges,  an-  Lifted  and  moved 
by  the  rams. 

We  ma)  now  ascend  to  the  level  <>f  the  stage.    'There  is  no  confusion 


BOOTH'S  THEATRE  — 


BEHIND   THE  SCENES. 


7 


behind  the  scenes  on  the  stage,  but  that  which  the  carpenters  make.  To 
you,  sitting  in  the  boxes  when  the  curtain  is  up,  the  actors  are  all ;  but  when 
the  curtain  is  down,  your  kings  and  queens,  and  princes  and  warriors,  your 
heroes  and  heroines,  slink  off  ignominiously  into  corners,  while  a  set  of  ro- 
bust plebeians,  in  working-attire,  become  masters  of  the  place.  When  the 
curtain  comes  down  on  a  hovel,  and  the  next  act  must  show  you  a  palace, 


BENEATH  THE  STAGE — TRAPS  AND  PLATFORMS. 


there  is  in  a  minute  a  hundred  things  to  do.  No  sooner  does  the  canvas 
glide  between  stage  and  auditors,  than  an  army  of  busy  workers — rough 
genii  in  shirt-sleeves,  who  with  almost  magical  swiftness  transform  squalor 
into  splendor,  or  transport  you  from  Occident  to  Orient — are  busily  running 
hither  and  thither,  like  a  disturbed  hill  of  ants,  summoning  from  subterra 


8 


BOOTH'S   THEATRE  — BEHIND   THE  SCENES. 


BOOTH'S  THEATRE  —  BEHIND  THE 


SCENES. 


9 


nean  depths  below,  giddy  heights  above,  and  mystic  receptacles  you  know 
not  where,  the  materials  for  the  new  mansion  that  is  to  be  built  and  furnish- 
ed and  adorned  with  almost  the  rapidity  of  thought. 

The  visitor  at  Booth's  has  doubtless  noted  that  the  stage  is  not  dressed 
after  the  old  style.  The  side-wings,  that  in  other  theatres  stand  at  right 
angles  to  the  spectator,  are  abolished,  and  instead  there  is  an  arrangement 
by  which  the  scene  apparently  extends  to  the  right  and  the  left,  as  well  as 
to  the  rear.  When  seated  at  the  side  of  the  theatre,  you  do  not  look  between 
the  wings,  but  your  vision  is  confronted,  if  the  scene  is  a  room,  by  enclosed 
walls;  if  an  exterior,  by  rocks,  or  trees,  or  plains,  that  recede,  and  carry  the 
eye  oft*  into  imaginary  space.  There  is  a  greater  suggestion  of  extent  and 
largeness  on  the  Booth  stage  than  on  others  much  more  extensive. 

Mr.  Booth's  arti>ts,  moreover,  understand  that  it  is  an  error  to  attempt 
to„  erect  an  entire  cathedral  or  a  palace  within  the  narrow  confines  of  a  stage, 
but  that,  by  painting  parts  of  a  structure,  and  letting  them  lead  off  into  un- 
defined limits,  the  imagination  immediately  supplies  space  and  extent. 
All  the  scenes  at  Booth's  Theatre  are  so  set  that  the  eye  wanders  off  into 
suggestions  of  space  ;  if  it  is  a  forest,  a  tangling  of  boughs  blends  above,  and 
at  either  side  the  wooded  depths  seem  to  recede  away.  What  suggestions, 
for  instance,  of  noble  space  were  manifest  in  the  arrangement  of  the  grave- 
yard scene  in  "Hamlet"  as  produced  at  this  theatre  last  winter  !  The  art 
of  the  scenic  artist  made  his  "pent-up  Utica"  almost  boundless.  The  eye 
wandered  off  to  the  church  and  amid  the  distant  ti  res,  until  we  seemed  in- 
deed to  be  looking  upon  a  veritable  scene  rather  than  the  seeming  of  one. 
The  side-wings  at  this  theatre  are  arranged  at  oblique  instead  of  at  right 
angles,  forming  to  every  side-view  as  perfect  a  picture  as  can  be  afforded 
directly  in  front  of  the  foot-lights.  These  wings  are  not  run  in  on  grooves, 
as  in  other  theatres,  with  slides  above  to  support  them,  but  are  held  in  place 
by  long  braces,  which  we  see  men  busily  placing  in  our  first  illustration. 

Now  let  us  leave  the  level  of  the  stage  and  ascend.  We  wind  up  a  cir- 
cular stairway  that  seems  almost  endless,  and  arrive  at  what  is  called  the 
"fly-gallery."  This  is  depicted  in  our  sixth  illustration.  The  long,  narrow 
scene,  forming  the  fourth  in  our  series,  represents  also  the  fly-gallery,  but 
on  the  opposite  side.  We  here  see  the  flies — the  top  scenes  that  are  let 
down  from  above,  to  meet  and  unite  with  those  that  are  sent  up  from  below. 
They  hang  in  a  long  array,  and  are  moved  by  manual  force,  aided  by  count- 
less ropes  and  pulleys — a  very  wilderness  of  ropes,  as  one  may  see  by  look- 
ing at  the  engraving  (number  six).    At  this  point  we  are  sixty-five  feet 


in  BOOTH'S  THEATRE  — BEHIND   THE  SCENES. 

above  the  level  of  the  stage,  and  ninety-five  feet  above  the  rams  hidden 
darkly  away  in  the  depths  far  below  the  stage.  In  this  fly-gallery — we  are 
now  standing  in  the  one  depicted  in  cut  number  four — we  may  look  down 
through  a  narrow  opening  upon  the  stage,  where  the  actors  are  dwindled 
into  pigmies,  whose  voices  come  up  uncertain  and  confused.  It  is  a  little 
odd  to  watch  a  play— what  one  can  see  of  it — from  this  "point  of 'vantage," 
but  it  is  hardly  worth  while  to  point  out  the  peculiar  advantages  of  a  chance 


RI&GINQ   LOFTS — ALSO    SHOWING  I'PPEU  PORTION  OF  ACT-DROP. 


seat  in  this  private  gallery,  as  we  fear  the  larger  number  of  our  readers  will 
not  be  able  to  test  them. 

Above  the  flying-galleries,  and  crowning  all,  is  the  great,  gloomy,  spa- 
cious "rigging-loft."  This  is  directly  under  the  roof, and  above  (he  pendant 
flies.  The  point  of  view  from  which  our  artisl  has  sketched  this  illustration 
needs  to  be  described  in  order  to  make  it  comprehensible.  The  view  is  from 
the  loft  over  the  auditorium,  between  thai  painted  and  gilded  ceiling  the 
i  ader  has  probably  often  admired,  and  the  roof  of  the  building.    It  shows 


BOOTH'S  THEATRE  — BEHIND   THE  SCENES. 


11 


the  machinery  by  which  the  flies  are  raised  and  lowered,  and  also  exhibits 
the  top  of  the  "  act-drop" — the  painted  curtain  let  down  between  each  of  the 
acts — which  is  now  lifted  above  out  of  sight  of  the  audience.  The  curtains 
at  this  theatre  are  not  rolled  up,  but  are  lifted,  retaining  their  exact  perpen- 
dicular, and  hanging  suspended  above  the  stage  when  out  of  use. 

We  are  now  higher  even  than  the  "gods"  of  the  gallery;  and  the  gal- 


.  lery  at  Booth's  always  seems  as  if  ambitious  to  top  "  high  Olympus."  When 
the  reader  is  in  a  vagrant  humor,  let  him  go  up  into  the  gallery,  ascend  to 
the  topmost  of  its  steep  row  of  benches,  and  look  down  the  dizzy  height  to 
the  stage  below,  looking  like  a  mimic  theatre,  with  puppets  for  actors.  But 
here  in  this  loft  one  may  take  a  novel  view  of  the  scene.  AVhere  the  giant 
chandelier  hangs  from  the  ceiling  there  are  openings  through  which  one 


12 


BOOTH'S   T  II  RAT  RE  —  BEITIXD   THE  SCENES. 


may  peer,  down  through  the  interstices  of  pendant  glass,  and  glittering  gas- 
jets,  upon  the  innocent  heads  of  the  multitude.  If  the  view  of  the  stage 
from  the  far- up  fly-gallery  was  a  little  odd,  this  glimpse  of  the  auditorium 
from  the  dizzy  crown  of  the  chandelier  is  sensational.  One  fancies  what 
sort  of  flight  he  would  make  cutting  through  the  air,  and  dashed  upon  the 
array  of  carved  seats  below.  One  might  pause  here  and  paraphrase  the 
Shakespearean  lines  upon  Dover  Cliff.  These  great  heights  have  certainly  a 
singular  hold  upon  the  fancy  ;  and  the  writer  will  always,  when  thinking 
of  Booth's,  imagine  himself  perched  there  above  the  high  chandelier,  peer- 
ing down  that  dreadful  distance  upon  the  unconscious  spectators. 

Up  through  these  open  spaces  in  the  ceiling  comes  a  swift  rush  of  air — 
a  miniature  gale,  in  fact,  the  reader  will  recollect  our  description  of  the 
great  fan  down  in  the  cellar  under  the  auditorium,  ceaselessly  sending  its 
currents  of  air  up  through  little  carved  interstices  under  the  seats.  Well, 
here  these  upward-flowing  currents  concentrate,  and  come  like  a  little  tor- 
nado, rushing  through  the  net-work  in  the  ceiling,  to  be  carried  off  through 
the  open  skylight  in  the  roof. 

In  our  ascent  to  this  altitude  we  have  passed  three  or  four  scenes  illus- 
trated by  our  artist.  One  is  the  scene-painter's  room.  This  is  situated  on 
the  right  side  of  the  stage,  as  you  face  it,  in  a  portion  of  the  building  formed 
by  an  L.  It  is  admirably  arranged  for  its  purpose,  the  scenes  being 
adjusted  against  the  walls,  and  movable  up  and  down  at  the  painter's  will, 
through  openings  in  the  floor.  The  painter  does  not  mount  on  ladders  to 
his  work,  as  is  usually  the  case,  but  his  canvas  is  lifted  or  lowered  to  the 
level  of  .  his  brush.  This  painting  room,  like  all  other  parts  of  the  theatre, 
is  new  in  design  and  arrangement,  and  most  convenient  to  the  workers. 
One  lingers  here  a  little  loath  to  depart, for  it  is  in  this  spot  all  the  splendid 
conceptions  are  worked  out  which  in  the  illusive  scene  so  charm  the  eye 
and  refresh  the  imagination.  As  the  stage  advances,  the  scene-painter's  art 
gains  more  and  more  a  place,  sometimes  even  supplanting  the  actor.  At 
Booth's  Theatre,  it  is  made  the  happy  aid  to  the  actor's  personations,  not 
dividing  the  attention  of  the  spectator,  but  supplementing  and  completing 
the  illusion.  And  what  magic  the  scene-painter's  pencil  conjures  up  !  what 
scenes  of  beauty,  earthly  and  unearthly!  In  the  very  first,  number  of  this 
Joi  final,  in  referring  to  the  pictorial  ait  of  the  stage,  we  said*  "  Art  upon 
the  stage  not  only  reaches  larger  numbers  than  is  possible  otherwise,  but 
its  effects  are  broader,  its  illusions  more  perfect,  and  its  impressions  more 
stimulating.    It  is  far  more  real    It  is  capable  of  grander  and  sublimer 


BOOTH'S  THEATRE 


—  BEHIND   THE  SCENES. 


13 


effects.  It  is  more  satisfying  to  tlie  imagination.  It  is  more  nearly  the 
thing  depicted.  We  speak,  of  course,  of  this  art  in  its  better  and  more 
successful  expression.  We  mean  such  pictures  as  were  exhibited  last  year 
in  '  Midsummer  Night's  Dream  '  at  the  Olympic ;  in  a  recent  scene  called 
the  '  Lilacs '  at  Niblo's ;  in  a  few  scenes  in  the  French  Opera;  and  in 
several  scenes  now  presented  at  Wallack's  Theatre,  in  '  Much  Ado  about 


scene-painters''  room. 


Nothing,'  and  at  Booth's  new  beautiful  dramatic  temple,  in  1  Romeo  and 
Juliet.'  These  are  all  artistically  beautiful,  and  prove  that  while  scene- 
painting  has  often  been  low,  coarse,  false,  and  hurtful,  it  is  capable  of  being 
employed  in  a  higher  and  purer  spirit.  In  these  instances  quoted,  the  stage 
scenes  have  nearly  the  same  effect  upon  the  imagination,  only  more  vivid, 
that  a  landscape  by  one  of  our  painters  has.    Not  so  completely  refining,  of 


14 


BOOTH'S   THEATRE  — BEHIND   THE  SCEXES. 


course  ;  not  so  pure  in  taste  ;  not  so  simple,  symmetrical,  and  chaste  ;  with 
more  or  less  thought,  no  doubt,  to  dazzle  the  unthinking — and  yet  with  a 
largeness  of  perspective,  a  completeness  in  proportion  and  fulness,  that 
render  them  the  most  powerful  form  of  pictorial  expression." 

There  are  two  other  pictures  from  the  pencil  of  our  artist,  which  we 
have  not  yet  mentioned ;  but  they  seem  to  tell  their  own  story  without  the 
aid  of  a  chorus.  The  "  property-room "  gathers  within  its  fold  a  mar- 
vellous curiosity-shop  ;  helmets  and  tiaras,  mitres  and  swords,  crowns  and 
masks,  gyves  and  chains ;  furniture  of  the  past  and  of  to-day,  "  cheek  by 


PROPERTY-ROOM. 


jowl;"  griffins  and  globes,  biers  and  beer-cups,  coffins  and  thrones ;  decora 
Hons  for  the  garden,  the  boudoir,  the  palace;  furniture  for  the  salon  or  the 
hovel— a  multitude  of  tilings,  in  fact,  more  numerous  than  can  readily  be 
catalogued.  The  "  armory,"  if  no1  ;i  collection  of  such  strange  things  is 
interesting,  and  looks  as  if  we  were  wandering  through  some  ancient  tower 
or  castle  rather  than  "  behind  the  scenes"  at  a  theatre. 

Our  artist  hap  not  illustrated  the  wardrobe-room,  because  the  pencil 
could  not   readily  tell  its  story;    one  must  imagine  the  almost  endless 


BOOTH'S  THEATRE  —  BE  HIND   THE  SCENES. 


15 


gathering  of  costumes — of  the  robes  for  kings,  rags  for  beggars,  togas  for  the 
Roman,  and  comicalities  for  the  Yankee.  The  "  green-room "  is  also  left 
to  the  imagination  of  the  reader.  This  place  is  identified  with  so  many 
great  names,  so  connected  with  the  wits,  the  great  actors,  the  poets,  and  the 
dramatists,  in  English  theatrical  history,  is  simply  the  assembly-room,  where 
the  performers  meet  when  ready  for  the  stage.  It  is  curious,  often,  in  its 
collection  of  costumes  seen  somewhat  too  near,  and  it  is  frequently  amusing 
as  a  gathering  of  bright  and  witty  spirits ;  but  these  conditions  were  a  little 
beyond  our  artist's  skill  to  reproduce. 


ARMORY. 


We  know  the  names  of  the  actors  to  whom  we  are  indebted  for  our  pleas- 
ure at  the  theatre  ;  but  these  artists  of  the  scene,  quite  as  essential  often  to 
our  gratification,  are  rarely  heard  of  beyond  their  own  little  world.  Let 
us  do  something  toward  amending  this  injustice.  Although  all  under  Mr. 
Booth's  supervising  and  suggesting  taste,  and  that  of  his  stage-manager,  Mr. 
Waller,  we  must  give  large  credit  for  all  the  complete  features  of  this 
theatre  to  Mr.  J.  L.  Peake  whose  inventive  talent  constructed  the  machinery ; 
to  Mr.  Withan,  whose  skilful  pencil  gives  us  pictures  of  such  rare  beauty ; 


16 


BOOTH'S  THEATRE  —  BEHIND   THE  SCENES. 


to  Mr.  Deuel,  whose  taste  and  research  provide  all  those  many  accessories 
of  furniture  and  properties,  so  often  necessary  to  give  illusion  to  the  scene ; 
to  Mr.  Joyce,  who  reproduces  with  historical  accuracy  the  costumes  of  by- 
gone periods ;  to  Mr.  Dunn,  the  carpenter,  without  whom  the  play  were 
naught ;  and  to  Mr.  Kelsey,  engineer,  whose  care  and  watchfulness  con- 
tribute to  our  safety  and  comfort. 


No.  13. 

SIMILIA  SIMILIBDS  fl'RiNTDR. 

HUMPHREYS' 

HOMEOPATHIC  SPECIFICS 

Have  proved,  from  the-  mot  ample  experience,  an  entire  suc- 
cess: Simple.  Prompt.  Efficient,  ami  Reliable.  They  are  the 
Best  Family  Medicines  in  use — so  simple  that  mistakes  can  not 
be  made  in  using  them,  so  harmless  as  to  be  tree  from  danser, 
and  so  efficient  as  to  he  always  reliable.  They  have  received 
the  highest  commendation  from  the  thousands  who  have  long 
used  and  known  them,  and  will  always  render  satisfaction  to 
those  who  try  them. 

No.  Cures.  Price  in  Boxes.  Cents. 

1  "  Fevers,  Congest  ion.  Inflammations  25 

2  "  Worms,  Worm  Fever,  Worm  Colic   25 

3  ••  Crying-Colic,  or  Teething  of  Infants  25 

•1     "  Diarrhten  of  Children  or  Adults  25 

5  •'  Dysentery,  Griping,  Bilious  Colic  25 

6  "  Cholera- or  hits,  Vomiting  25 

7  '  Coughs,  Colds,  Bronchitis  25 

8  "  Neuralgia,  Toothache,  Faceache  25 

9  "  Headaches,  Sick  Headache.  Vertigo.  .25 

10  "  Dyspepsia,  Bilious  Stomach   25 

11  ''  Suppressed  or  Irregular  Periods  25 

12  "  Whites,  too  Profuse  Periods   .25 

13  ••  Croup,  Cough.  Difficult  Breathing  25 

14  "  Eruptions,  Salt  Rheum,  Erysipelas  25 

15  "  Rheumatism,  Rheumatic  l'aius  25 

16  "  Fever  &  Ague,  Chill  Fever.  Agues..  50 

17  "  Files,  Blind  or  Bleeding  50 

18  "  Ophtliulmy,  and  Sore  or  Weak  Eyes..  .50 

19  "  Catarrh,  acute  or  chronic,  InHuenza .... 50 

20  "  Whoopiii;;-«-oiitfh,  violent  Coughs. .  .50 

21  Asthma,  oppressed  Breathing  50 

22  '•  Ear  Discharges,  impaired  hearing... 50 

23  "  Scrofula,  Enlarged  Glands,  Swellings. .  .50 
21     ■■  tiieueral  Debility,  Physical  Weakness. .  .50 

25  "  Dropsy  and  Scanty  Secretions  50 

26  '•  Sea-Sickness,  Sickness  from  Riding...  50 

27  "  Kidney  Disease,  Gravel  50 

28  "  NerTOUS  Debility,  Involuntary  Semi- 

nal Discharges  $1  00 

29  "  Sore  Mouth,  Canker   50 

30  ';  Urinary  Weakness,  Wetting  Bod. .  .50 

31  •'  Fa  in  fill  Feriods,  Hysteria  50 

32  "  Sufferings  at  Change  of  Life  $1  00 

33  "  Epilepsy,  Spasms,  St.  Vitus  Dance. ...1  00 

34  "  Diphtheria,  Ulcerated  Sore  Throat  50 

Price  in  vials,  large  size   50c.  and  1  00 

FA  MIL Y  CASES,  in  Morocco,  with 

35  large  3  dram  vials,  containing  the  above 

list,  with  book  of  directions  complete  §10  00 

20       •'  "  •'  "    6  00 

20       •'       in  paper  case,  with  book   5  00 

VETERINARY  SPECIFICS. 

Cases  of  10  1  oz.  vials,  in  fluid,  100  doses  each, 
with  manual  of  directions,  giving  full  ac- 
count of  all  diseases  of  Horses,  Cattle. 
Sheep,  Dogs,  and  IIo^s,  with  full 
directions  for  use,  in  neat  walnut  case, 

complete   10  00 

POND'S  EXTRACT, 
Cures  Piles,  Neuralgia,  Toothache,  Bleeding 
of  the  Lungs,  Stomach,  Nose,  or  other  Organs, 
Burns,  Braises,  Lameness,  Sprains,  Kheum- 
atism,  Sore  Throat,  Sore  Eyes,  Boils,  Corns, 
Ulcers,  Old  Sores.  The  Best  Family  Medicine 
known. 

Price,  6-oz.,  50c;  Pints,  $1.00;  Quarts, 
$1.75. 

These  Remedies,  except  POND'S  EXTRACT,  by  the 
case  or  single  box,  are  sent  to  any  part  of  the  country,  by  mail 
or  express,  free  of  charge,  on  receipt  of  the  price. 

Address,  Humphreys'  Specific 

Homeopathic  Medicine  company, 

Office  and  depot,  ,502  Broadway,  New  York, 

Dr.  Humphreys  is  con  salted  daily  at  his  otlicf,  personally,  or 
by  letter,  as  above,  for  all  forms  of  disease. 

FOR  SALE  BY  ALE  DRUGGISTS. 


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